Federigo, his brother and scholar, resembled him in style, but was not equal to him in design, having more mannerism than Taddeo, being more addicted to ornament, and more crowded in his composition. He was engaged to finish in the Vatican, in the Farnese Palace, in the church of La Trinità de' Monti, and other places, the various works which his brother had left incomplete at his death; and he thus succeeded, as it were, to the inheritance of his own house. He had the reputation of possessing a noble style, and was invited by the Grand Duke Francis I. to paint the great dome of the metropolitan church at Florence, which was commenced by Vasari, and left unfinished at his death. Federigo in that task designed more than three hundred figures, fifty feet in height, without mentioning that of Lucifer, so gigantic that the rest appeared like children, for so he informs us, adding, that they were the largest figures that the world had ever seen.[61] But there is little to admire in this work except the vastness of the conception,[62] and in the time of Pier da Cortona, there was an intention of engaging that artist to substitute for it a composition of his own, had not the apprehension that his life might not be long enough to finish it, frustrated the design. After the painting of this dome, every work on a large scale in Rome was assigned to Federigo, and the Pope engaged him to paint the vault of the Paolina, and thus give the last touch to a work commenced by Michelangiolo. About this period, in order to revenge himself on some of the principal officers of the Pope who had treated him with indignity, he painted, and exposed to public view, an allegorical picture of Calumny,[63] in which he introduced the portraits of all those persons who had given him offence, representing them with asses' ears. His enemies, on this, made such complaints, that he was compelled to quit the dominions of the Pope. He therefore left Rome and visited Flanders, Holland, and England, and was afterwards invited to Venice to paint the submission of the Emperor Federigo Barbarossa to Pope Alexander III., in the Palazzo Pubblico, and he was there highly esteemed and constantly employed. The Pontiff being by this time appeased, Federigo returned to finish the work he had left imperfect, and which is perhaps the best of all he executed in Rome, without the assistance of his brother. The larger picture also of S. Lorenzo in Damaso, and that of the Angels in the Gesù, and other of his works in various churches, are not deficient in merit. Federigo built for himself a house in the Monte Pincio, and decorated it with pictures in fresco, portraits of his own family, conversazioni, and many novel and strange subjects, which he painted with the assistance of his scholars, and at little expense; but on this occasion more than on any other, he appears an indifferent artist, and may be called the champion of mediocrity.